The level of vitriol that has been directed towards the lady-led Ghostbusters reboot is beyond the pale. Over at my day job at Screen Rant, every Ghostbusters related news update is met by at least a few comments telling us we shouldn’t even be reporting on it. As if, like the mainstream media’s coverage of Donald Trump, we are treating a great evil in the world as normal, and should really just stop giving it attention. Hilarious, considering the “controversy” they are stirring is turning the reboot of a comedy…

Swiss Army Man is storytelling at its finest. It’s immature, gross, insecure, ridiculous, and deeply, deeply human. Its profundity doesn’t come in spite of its base nature, but because of it. It explores the shame we have in being dead men walking, and the pretense in imagining that we’re more than a brain/soul/what-have-you piloting a walking, talking, farting meat robot. It’s a weird, meandering, sometimes depressing movie that may turn you off entirely, and you absolutely must see it.

I wasn’t a huge fan of Finding Nemo. The film was enormously successful for Pixar and one of its biggest crowd pleasers. I thought it was cute, but that the plot structure was really meandering, and that its message was weak compared to a lot of Pixar’s best. Worst of all, I didn’t connect to the protagonist Marlin (Albert Brooks). In fact, I actively dislike him. I don’t see Marlin as having any positive character traits. He’s a neurotic, snippy worrywart. Sure, he loves his son. He’s not a monster. But honestly, Nemo’s blank slate innocence and growing up story was a far more compelling part of the story to me.

Movies based on video games are never “good”. Often they’ve been “godawful” (Super Mario Bros.), with a few falling into the so-bad-they’re-good category (DOA: Dead or Alive). The best they ever get is “okay” (Resident Evil), with the vast majority falling into the “bland” (Prince of Persia) or “gimmicky” (Final Fantasy) categories. So it may surprise you when I say that I really enjoyed Warcraft, While it certainly has no shortage of “bland” elements, and stumbles over a lot of chances it had to excel, I think it’s about as close as I’ve seen to a video game adaptation being “good” without actually earning that qualifier. It certainly has enough standout qualities for me to call it “above average”. As The Powerwaifu so aptly put it, “I wouldn’t kick it out of bed.”

I can’t imagine a better Lonely Island movie than Popstar: Never Stop Never Stopping. Everything that works about the musical comedy trio of Andy Samberg, Akiva Schaffer, and Jorma Taccone is operating on overdrive here, from the obvious chemistry that the trio have as long time friends to the satire of the self-important pop culture attitude. If you’ve heard “I’m On a Boat,” you’ll know exactly the kind of hilariously narcissistic nonsense that Popstar has in store.

The Lobster is a difficult movie to describe, but people who’ve seen Terry Gilliam‘s Brazil will have a general idea of the odd, stilted, cynical humor that makes the film unique in its class. The two films also share semi-sci-fi dystopian premises, but grand production design and a sense of adventure is nowhere to be found in The Lobster. The film is, perhaps, one of the most atypical examples of an indie rom-com that I’ve seen.

If you know who Shane Black is, you likely already know if you’re going to like The Nice Guys. For all the rest of you – As the creator of the Lethal Weapon series, Shane Black is basically the father of the modern buddy cop genre. (He’s also the first dude on screen to ever get offed by a Predator.) Almost two decades later, he reinvented his own take on “Two Wacky Dudes Solving Crimes” with his directorial debut, the wildly deconstructive, and constantly unpredictable, Kiss Kiss Bang Bang, This film bears the distinction of simultaneously being the last thing Val Kilmer was in that anybody cared about, and the device that rebooted Robert Downey Jr.’s career post-drug abuse scandal. RDJ returned the favor by bringing Black in as the writer and director of Iron Man 3. Black returned that favor by giving Marvel its 3rd best selling, and by far most unpredictable film.

Keanu, from the comedy duo Keegan-Michael Key and Jordan Peele seemed like a sure-fire comedy hit. During its five season run, their sketch comedy series Key & Peele was consistently hilarious – often brilliant social satire. The duo share a mixed race heritage. Both have black fathers and white mothers, and they have often leveraged this unique position to discuss things about race that few other comedians could speak to, much less get away with. Having spent a lifetime being seen as “shady” by whites and “domesticated” by blacks, their sketches regularly had them hitting either extreme. They poked fun of the social norms that divided their cultures, while showing how arbitrary it was to adopt them to fit in. In Keanu, they hit these same notes again, but to diminishing returns.

Captain America: Civil War, is a finely tuned, tightly paced, smartly scripted, big budget, action-packed jamboree. It’s both a continuation of Captain America’s (currently) 5 movie character arc, and the 13th episodic chapter in the ever expanding Marvel movie lineup. Most of all, it’s proof that Superhero films don’t need to be trivial to be fun, and don’t need to be “angsty” to be deep. They simply need creators who get what they’re working with, and why it works. Civil War is quite nearly a damn flawless movie, and it’s an indication that Marvel isn’t losing steam – they’re just getting started.

You had me at “Patrick Stewart: White Supremacist.” Green Room is an unconventional horror film, which succeeds by making believable and uncompromising decisions about how it plays out. To avoid spoilers, I’ll stick with the official log-line: “After witnessing a murder, a punk rock band is forced into a vicious fight for survival against a group of maniacal skinheads.”